Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Czech Republic and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1970.
I'm losing my edge.
To all the kids in London and Paris.
I'm losing my edge to the art-school Seoul kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Country Teasers to the jazz kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Anthony Braxton. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Kurtis Blow,
Yaz,
Patti Smith,
Deadbeat,
10cc,
Dark Day,
Kango’s Stein Massive,
Leonard Cohen,
Alice Coltrane,
Stereo Dub,
Sam Rivers,
The Smoke,
Fifty Foot Hose,
Dead Boys,
Larry & the Blue Notes,
Agitation Free,
Amon Düül II,
Manfred Mann's Earth Band,
Scott Walker,
B.T. Express,
Negative Approach,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Grass Roots,
The Last Poets,
Scrapy,
Brick,
The Offenders,
Goldenarms,
Heavy D & The Boyz,
Gong,
Flash Fearless,
Cybotron,
Kauko Röyhkä ja Narttu,
The Angels of Light,
Ice-T,
Junior Murvin,
A Certain Ratio,
The Saints,
Rod Modell,
The Peanut Butter Conspiracy,
Mary Jane Girls,
The Chocolate Watch Band,
Lafayette Afro Rock Band,
Louis and Bebe Barron,
Hashim,
Country Teasers,
Matthew Halsall,
Roger Hodgson,
Letta Mbulu,
In Retrospect,
The Trojans,
The Mummies,
Oblivians,
Rakim,
Sex Pistols,
The Five Americans,
The Zeros,
The Electric Prunes,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.